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Do a jigsaw task identifying examples of metonymy in the columns. Choose at least 5 cases of metonymy and explain why the original use of a word has turned into a metonymical one.

2.

Whether ’tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

And by opposing end them?

W. Shakespeare. Hamlet.

Tasks and questions:

1. Explain the meanings of unfamiliar words and translate these lines.

2. There are two metaphors here. Which of them represents passive submission to the injustice of life and which suggests active action?

3. What type of question is it from the point of view of normative grammar? Why can we also say the question Hamlet asks is rhetorical?

4. What stylistic devices are amalgamated in ‘a sea of troubles’? What words for ‘sea’ could you offer?

…in that sleep of death what dreams may come,

When we have shuffled off this mortal coil, …

W. Shakespeare. Hamlet.

Tasks and questions:

1. Hamlet says that when we die we are freed from ‘the mortal coil’. Explain the meaning of this expression.

2. What stylistic device is used in these lines? Can you explain what Hamlet means in your own words?

3. A modern writer says that a human soul has a heavier weight in comparison with human flesh. Does this utterance seem paradoxical to you? What is the implication of this utterance?

3.

Queen: O, speak to me no more;

These words, like daggers, enter in my ears;

No more, sweet Hamlet!

W. Shakespeare. Hamlet.

Tasks and questions:

1. What stylistic device is used in these lines?

2. Identify the tenor, the vehicle and the ground in the structure of this image. How can words be likened to daggers?

3. Why do you think the Queen implores her son ‘to speak no more’ to her?

4.

See, what a grace was seated on this brow –

Hyperion’s curls, the front of Jove himself;

An eye like Mars, to threaten and command;

A station like the herald Mercury

New lighted on the heaven-kissing hill;

A combination and a form indeed

Where every god did seem to set his seal,

To give the world assurance of a man.

This was your husband.

W. Shakespeare. Hamlet.

Tasks and questions:

1. In these lines Hamlet describes the merits of his dead father, King of Denmark, to the Queen, his mother. The stylistic device of allusion is used at length. Given that allusion is an indirect reference to a well-known person, place or event in mythology or history, find out allusive names in the description.

2. Make a list of the gods Hamlet mentions. How have these names become symbolic? What human properties do they symbolize? Does the context prompt anything?

3. What mythologies are the allusive names of gods borrowed from?

4. What do these allusions suggest about Hamlet’s view of his father?

5. Find out a case of metonymy: what substitution does it present?

6. Identify the metaphors and the similes. What central issue do these stylistic devices help to expose?

7. What is the meaning of the following words: ‘station’, ‘herald’, ‘form’, ‘seal’? How are ‘new lighted’ and ‘heaven-kissing’ interpreted? What stylistic devices are these? What effect do they create?

8. Notice the use of the emphatic ‘did’ (last but one line). Can you say it serves another evidence of the effect mentioned in task 7?

9. Syntactically – how are the sentence structures contrasted in this monologue? How many are they?

10. There are at least two aims the main character has in mind while pronouncing his monologue. What are they?

5.

We, Hermia, like two artificial gods

Have with our needles created both one flower,

Both on one sampler, sitting on one cushion,

Both warbling of one song, both in one key,

As if our hands, our sides, voices and minds

Had been incorporate. So we grew together

Like to a double cherry, seeming parted

But yet an union in partition,

Two lovely berries moulded on one stem,

So with two seeming bodies but one heart,

Two of the first, like coats in heraldry,

Due but to one, and crowned with one crest.

W. Shakespeare. A Midsummer Night’s Dream.

Tasks and questions:

1. Find out in the text the equivalents of the following words and expressions:

a) highly skilled in art

b) piece of embroidery

c) of one body

d) shaped

e) division

f) sing like a bird

g) study of coats of arms, descent and history of old families

h) decoration at the top of a heraldic shield

2. In the above given extract from Shakespeare’s comedy Helena describes how she and Hermia embroidered a flower together as an example of how close they were as friends. Which adjectives would you choose to describe the imagery she uses: intimate, striking, feminine, calming, trivial? Give the reason for your choice of the adjective.

3. Helena says that she and Hermia were a ‘double cherry’. Do you think this image is effective? Justify your answer.

4. There are three images used by Helena in her monologue. The device is called a comparative complex or fusion; its essence is simile growing into metaphor. What are these similes and how do they amalgamate with other contextual verbal details to become metaphors?

5. Analyse each imagery used in the text into the structural components (tenor, vehicle, ground). Which of the images seems to you old-fashioned?

6. Hermia and Helena have been friends since childhood but have fallen out because of a misunderstanding. From your own experience and knowledge make a list of reasons why long, close friendships sometimes break up.

6.

And are you grown so high in his esteem

Because I am so dwarfish and so low?

W. Shakespeare. A Midsummer Night’s Dream.

Tasks and questions:

1. There is a double meaning in the expressions ‘be high (low) in one’s esteem’, actualized in these lines. What are they?

2. Do you think the reference is made to different substances at one and the same time?

3. Identify the stylistic device used.

The orchard walls are high and hard to climb,

And the place death, considering who thou art,

If any of my kinsmen find thee here.

W. Shakespeare. Romeo and Juliet.

Tasks and questions:

1. What archaic words can you come across in these lines taken from Julia’s monologue addressed to Romeo?

2. What meaning is realized in the word ‘high’ here, compared with the previous example?

3. Why does Juliet describe the orchard as ‘death’ for Romeo?

4. Identify this stylistic device.

7.

A living doll, everywhere you look.

It can sew, it can cook.

It can talk, talk, talk.

It works, there is nothing wrong with it.

You have a hole, it’s a poultice.

You have an eye, it’s an image.

My boy, it’s your last resort.

Will you marry it, marry it, marry it.

S. Plath. The Applicant.

Tasks and questions:

1. There are two pronouns in the poem – ‘it’ and ‘you’. Do they refer to one and the same object described? Are the last two lines addressed to the ‘living doll’?

2. What stylistic device is ‘a living doll’? What adjective would you characterize the image used by S. Plath with: artificial, striking, banal, popular, lively?

3. Who do you think is chosen by the poetess as an object of bitter ridicule?

4. What pronoun reduces the role of a wife to an inanimate existence?

5. Prove that a nursery rhyme language is used in the poem. What effect does it create?

6. Can you prove the fact that ‘brutal directness and bold images from popular culture’ are employed by S. Plath?

7. What kind of metaphor is developed in the poem? What concept does it serve to expose?

8. Does it serve to reflect S. Plath’s proto-feminist ‘cry of anguish’? Do you think women should find fulfillment in tending their husbands and children?

9. How does S. Plath oppose her view to the aggressive 1950s attitude to women, according to which women shouldn’t show anger or pursue a career?

8.

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! He had an eye of a vulture – a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees – very gradually – I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

E.A. Poe. The Eye.

Tasks and questions:

1. Define the meanings of the key words of the text: to haunt, vulture, rid oneself.

2. Which physical aspect of the old man disturbed the narrator? What stylistic device is used in the last line of the text? What actually did he want to ‘rid oneself of’? Does the use of the single number reinforce the association with a vulture? Focusing on a single eye dehumanizes the narrator’s victim, doesn’t it?

3. What euphemism is used for ‘to kill the old man’? How can you account for the use of the euphemism?

4. What language metaphors can you come across in the narration (e.g. referring to an ‘idea’)?

5. Lexical and syntactic repetition help to increase tension in the extract. Can you prove it?

6. The narrator is pathetic in his words trying to impress the reader by the implicit assertion that he is not a madman. What stylistic device of syntax contributes to a high-flown sounding of his narration?

7. Hyperbole also helps to describe the degree of the narrator’s mental instability in the extract. Can you prove it?

8. Why does E.A. Poe choose the first-person narrative technique?

9. Is the narrator insane? What features of a psychopathic murderer’s mind does E.A. Poe explore and verbalize in the given extract?

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